By MCN Editor editor@moviecitynews.com

JULIANNE MOORE AND GREG KINNEAR TO STAR IN THE ENGLISH TEACHER

Posted Friday, September 9th, 2011 - Comments Off on JULIANNE MOORE AND GREG KINNEAR TO STAR IN THE ENGLISH TEACHER
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FILM TO BE PRODUCED BY ARTINA FILMS

New York (September 8, 2011) – Artina Films’ announced today Julianne Moore will star in the sophisticated comedy, THE ENGLISH TEACHER. Greg Kinnear was also announced as joining the cast in a key role. Beginning production next month in New York, the film is produced by Naomi Despres, Robert Salerno and Matthew Chausse of Artina Films alongside Ben LeClair. The Executive Producer is Ron Curtis. The film will mark the feature directorial debut of Craig Zisk (THE BIG C, NURSE JACKIE, WEEDS). The screenplay is by Dan and Stacy Chariton. International sales are being handled by Kim Fox of Inferno Entertainment, which the company also handled Moore’s THE KIDS ARE ALL RIGHT.

The film marks the first Artina has assembled through its new financing apparatus, which includes soft money funding and an exclusive alliance with Procinvest. The structure is designed to produce three films a year in the $5-$25 million range. Artina Films is currently in post-production on ARBITRAGE starring Richard Gere and Susan Sarandon, and WE NEED TO TALK ABOUT KEVIN starring Tilda Swinton opening in December.

The film is the story of beloved high school English teacher Linda Sinclair (Moore) whose repressed personal life exists in stark contrast to the passion she brings to the classroom.  Linda’s carefully constructed life is upended when a former star pupil returns to her small town after failing miserably as a playwright in New York.  Convincing him to mount his unproduced play at the high school, Linda finds herself in the middle of more drama than she’s ever known.

Moore most recently garnered a Golden Globe nomination for her work in THE KIDS ARE ALL RIGHT, as well for her role in Tom Ford’s A SINGLE MAN, which was produced by Artina Films. She can currently be seen in the romantic comedy CRAZY, STUPID, LOVE.

Kinnear can next be seen in I DON¹T HOW SHE DOES IT, opening September 16, opposite Sarah Jessica Parker.  Other credits include LITTLE MISS SUNSHINE, John F. Kennedy in the mini-series THE KENNEDYS, and his breakout role in AS GOOD AS IT GETS, opposite Jack Nicholson.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon